“…How to Mistake Your _____ for a ____” (a nod to one of neurologist Oliver Sack’s books on brain function, The Man Who Mistook His Wife for a Hat)… requires two participants to kneel on red velvet pillows, facing each other across a pedestal. After each dons an exquisitely crafted hat (one made from rabbit fur and a blowfish, the other woven sinew), the subjects gaze into a small mirror set at eye level in a rack of laboratory pipettes. When focusing on the mirror the participants see themselves. But as their vision shifts and refocuses, their eyes appear to be superimposed on the other’s face, as if a part of them had been cloned and grafted onto their partner. The pipettes contain human, animal and plant matter, serving as a reminder of the insidiousness of genetic modification. Perhaps Outlaw is not only questioning the scientific advances of the present but providing us a glimpse of the future.” — Excerpt from Rebecca Dimling Cochran’s review of Outlaw’s show Witches Brew at Whitespace Gallery in Art in America, p 102-103, Oct. 2011

“How to Mistake Your_____ for a _____” ( 2011), is a kind of altar covered in red velvet with two steps on either side. Participants kneel, don a headdress—one of woven rawhide, the other fashioned from a blowfish — and peer into a tiny mirror, the process reminiscent of an eye exam. But here participants see their own eyes on the face of the other. The work offers not only the uncustomary opportunity “to see yourself as others see you,” but also to play with almost limitless possibilities, such as, his lips, my eyes; his nose, my lips. A telling detail: the kneelers are made of memory foam, suggesting that each person leaves an imprint no matter how scrambled the images.” — Excerpt from Dorothy Joiner’s review of Outlaw’s exhibit Witches Brew at Whitespace Gallery in World Sculpture Magazine, Vol. 17, No 4, 2011